Mlyn i krzyz

I really like when the come out with a film like this. I like costume dramas, but this one is so interesting because it was made based on a painting and it works with a very interesting subject of Protestantism in Flanders and tryouts of Spanish militia to eradicate it. Not a lot of the films was made about the subject, and it clearly shows desperation of the Spanish militia to eradicate, at that time, very strong Protestant movement in Flanders. How state of the affairs came to that? I would track it down to Pope Alexander VI Borgia and total corruption of the Curria of the late 1490s. It was inevitable that someone like Martin Luther to show up, and it was a downhill for the northern Europe from that time onwards as far as Roman Catholicism.

Beside that, cinematography is great and costimography as well. True holiday for the eyes. I enjoyed every moment of it.

The Mill and the Cross (2011)

Maybe I anticipated this for too long, hearing about its production, and teaching in an Art History department myself. The result is both astonishing and boring as heck. I know, there is a kind of absorption that happens through silence and slow appreciation. And there is even the astonishment of looking without really thinking, or feeling, for the narrative or the characters.

This is, for sure, a visually wonderful movie. The way it works out the scenery and milieu of a period based on a single painting is brilliant and ambitious. The mise-en-scene might in fact be the only and singular point of it all. So on that level, eleven stars. Terrific. Mind-blowing.

But that exercise in naturalistic re-creation, in enlivening a masterpiece on canvas by Bruegel from 1564, is not, to me, enough. You will know after ten minutes whether to continue. I have heard of people being just spellbound by it all, so that hopefully would be your feeling.

I tried to make the characters have meaning on some level, either in their interactions, or in their actions alone, or through what they did to the world around them. Much of what happens feels more medieval than Renaissance, to me, but I'm sure that was researched thoroughly. (Bruegel was painting at a time when the Renaissance from Italy had made its way thoroughly north to the lowland countries and beyond.)

It is fun (and indicative of the seriousness here) that both Michael York and Charlotte Rampling took part, late in their careers. That was one of the draws, for sure. But don't expect revelations there, either. Expect in fact only what the director, Lech Majewski, intended—a film version of the painting, set in its larger context but always based on and drawing from this one admittedly fantastic painting. Which might be your starting point, before launching into this one and half hour homage.

The Mill and the Cross (2011)

The Polish film "The Mill and the Cross" was co-written and directed by Lech Majewski It stars Rutger Hauer as Pieter Bruegel, and co-stars Charlotte Rampling and Michael York.

The film consists of an attempt to bring to life Bruegel's 1564 painting, "The Procession to Calvary." I have seen this painting in the Kunsthistoriche Museum in Vienna. Once you've seen it, you don't forget it, because it is filled with people and action. (Although, in the painting, Jesus has just collapsed under the weight of the cross, so, in a sense, action has been frozen for a few seconds.)

The painting is also remarkable for a very strange symbol--a windmill placed high atop a stony crag. In the film, Bruegel explains that the miller looks down from his mill and sees everything that is happening below, just as God looks down from heaven and can see everything. So, the mill and the miller work symbolically. However, in a practical sense, the mill would never be that high on an large, steep, stony crag. If a mill were really in that location, no one could bring the wheat to the mill or take away the flour.

The other dominant vertical structure is a cartwheel, raised high on a long pole. This was the device used by the Spanish rulers of the Netherlands to execute and display prisoners. The prisoner was tied to the wheel, and the wheel was hoisted far up in the air. The device prevented anyone from helping the person--if alive--or removing the body. Only the carrion birds could reach the body, which they did, with predictable results.

Technology in the 21st Century makes everything possible, so it's no surprise that the painting is reproduced in the film in a real landscape. Sometimes all the figures are frozen, but other times you can see a cow moving or some other action taking place. The special effects are routine by now, but the manner in which they are used is not routine.

We really have the sense that we are looking at a landscape, and the artist is putting it down on canvas before our eyes. This is a highly creative way to look at life the way an artist sees it, and then look at the way life is transformed and committed to canvas.

We saw this film on the large screen at the excellent Rochester Polish Film Festival. It really will work better in a theater. However, if that's not an option, it's worth seeing on DVD.

It can be said that Lech Majewski's 2011 film depicts "art imitating life, imitating art, imitating life, which also typifies the layer upon layer of meaning and implication to be found in the film. Pieter Bruegel the Elder's 1564 painting "The Way to Calvary" creates the story line for this completely unconventional portrayal of life in the 1600's and Bruegel's technique or the process he may of worked through while creating the painting. Bruegal's painting is much more than a back drop and can almost be seen as a central character, perhaps even a brilliant supporting actor.

As the film weaves in and out of scenes found in the painting, the characters are brought to life portraying their personal reality behind the snippet of time in which they are actually portrayed. In a further layer in the film consider the juxtaposition of good and evil, peasants innocently awaking to begin a day's work, the musicians playing and dancing with merry abandon, contrasted with the whipping and murder of the young husband by the Spaniards. As Bruegel considers the crucifixion scene he actually begins to interact with the painting. He signals to the miller (a euphemism for God) to stop; and as the miller brings the mill (and seemingly life itself) to a standstill the moment is so unsettling as the windmill, looking mysteriously like the cross Christ has suffered on, turns counterclockwise.

The final shot in this lusciously disconcerting film pans out from the painting "The Way to Calvary" as it hangs in Kunsthistorisches Museum in Vienna, and leaves one to ponder the art each of us has seen, and the snapshots in time that art depicts. Majewski's brilliant film gives pause to consider the lives lived behind all the images of all the art over the ages, and so much more.

I found this film to inspire the same contemplative mood and heightened awareness of similar films that build power without reliance on lots of dialogue, music or usual cinematic cues. If you appreciated "Into Great Silence" or "Vision" or "The Tree of Life" or even "2001" you will appreciate the poetic quality of this film. It is important for us to slow down occasionally and allow some films to affect us without the necessity of being slammed over the head with noise and speed and highly charged emotions. After all, for a film placed in its time, that is a more realistic portrayal of life during those centuries. This film illuminates the artistic process and aims of the artist. We are fortunate that the makers of this film dared to create this unique journey into a canvas of one of the world's great artists.